With a booming voice and looming physical presence, Burnett is commonly ranked among the leading performers in electric blues; musician and critic Cub Koda declared, "no one could match [Howlin' Wolf] for the singular ability to rock the house down to the foundation while simultaneously scaring its patrons out of its wits."[1] Many songs popularized by Burnett-such as "Smokestack Lightnin'," "Back Door Man" and "Spoonful"-have become standards of blues and blues rock.

At 6 feet, 6 inches (198 cm) and close to 300 pounds (136 kg), he was an imposing presence with one of the loudest and most memorable voices of all the "classic" 1950s Chicago blues singers. Howlin' Wolf's voice has been compared to "the sound of heavy machinery operating on a gravel road". Although the two were reportedly not that different in actual personality, this rough edged, slightly fearsome musical style is often contrasted with the less crude but still powerful presentation of his contemporary and professional rival, Muddy Waters, to describe the two pillars of the Chicago Blues representing the music.

Howlin' Wolf, Sonny Boy Williamson (Rice Miller), Little Walter Jacobs and Muddy Waters are usually regarded in retrospect as the greatest blues artists who recorded for Chess in Chicago. Sam Phillips once remarked of Chester Arthur Burnett, "When I heard Howlin' Wolf, I said, 'This is for me. This is where the soul of man never dies.' " In 2004, Rolling Stone Magazine ranked him #51 on their list of the 100 Greatest Artists of All Time.[2]

What better way to cap off 2003, the "Year of the Blues," than with this eminently watchable documentary about Chester A. Burnett, better known as Howlin' Wolf? Arguably second only to Muddy Waters among the Mississippi Delta singers who traveled north and pioneered urban electric blues (their supposed rivalry is the subject of one of this DVD's bonus features), Wolf was a big, imposing man with an inimitable, booming voice and a lasting influence on generations of rock & rollers--all of which comes across in the 90-minute film. Not only do we get a history of his life (told by family members, musical associates like longtime guitarist Hubert Sumlin, and Wolf himself) that's far more entertaining than the norm for this genre, we also get some history of the blues in general. And not only do we hear snippets of Wolf's music, we hear several complete songs, including some priceless filmed performances. Quite simply, this one should become a touchstone for documentaries of its kind. --Sam Graham